Jerry Ball

Jerry Ball (born Jerald Truman Ball, December 16, 1932, Lincoln, Nebraska, U.S.A.; died August 14, 2019, Walnut Creek, California), college professor of mathematics and humanities; haiku poet, editor, and teacher; and organizer of haiku groups and conferences. He was instrumental in the foundation of the Yuki Teikei Haiku Society retreat at Asilomar State Park, California (1984), the Haiku North America conferences (1991), the Southern California Haiku Society (1997), and the Haiku Pacific Rim Conferences (2001). Ball was coeditor of The San Francisco Haiku Anthology (1992). He last resided in Walnut Creek, California.

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Early Life and Education

Jerry Ball was born in Lincoln, Nebraska, during the Great Depression. In 1940 his family moved to San Francisco, where his father worked as a salesman. He enjoyed a rich and full childhood. The family lived on 18th Avenue very near Golden Gate Park and half a block from the public library. “18th Avenue!” Jerry wrote. “I can’t count the number of tackle games I played there. There were six kids on the street, enough to play three on three touch tackle. Day after day, we would play till the cars came down the street, then we’d step to the side, wait till the car passed, then on with the game.”¹ He and his friends spent much of their free time riding their bikes into Golden Gate Park where they fed the swans on Stow Lake, played make-believe games defending Strawberry Hill, and visited the de Young Museum of Art where kids were admitted for free. In the summer the library conducted a reading contest. Children chose books from a long list prepared by the librarians and were to read three a week. The reader was expected to answer questions about the books. Whoever read the most books in six weeks won the prize of a free book. Ball enjoyed the challenge and won Olcott’s Field Book of the Heavens, a book he kept for many years. He graduated from Lowell High School in San Francisco²

After receiving his bachelor’s degree in philosophy from San Jose State University in 1954, he joined the U.S. Army and served in the Korean theater. It was in the army in 1956 that he began his teaching career. When he was discharged the following year, he resumed teaching and pursued graduate studies in philosophy at the University of Minnesota. He returned to the San Francisco Bay Area and earned the first master’s degree ever awarded by California State University, Hayward (since 2005 known as California State University, East Bay). With his degree in mathematics, in 1964 he took a position teaching humanities and mathematics at Chabot College in Hayward for 11 years. He moved to Las Positas College in Livermore, California, in March 1975 and taught for another 21 years. Meanwhile he earned a Ph.C. degree from the University of California, Berkeley, in 1976.

Discovering Haiku

Jerry Ball described his growth as a haiku poet in a talk given to the Yuki Teikei Haiku Society on the occasion of its 40^th Anniversary at the Tea House in the Japanese Friendship Garden, San Jose, California, in 2015. His introduction to haiku was in 1975, he said. While teaching mathematics and philosophy at Las Positas College, he was asked to teach a course on poetry in the humanities department. He included a section on haiku, and as part of his preparation he read Harold G. Henderson’s Introduction to Haiku. He soon became enamored with the genre.³ He learned, for example, from Henderson’s description of a conversation between Kikaku and Bashō that “Haiku are not about beauty, they are about life.” In addition to Bashō, other poets whose work impressed him were Chiyo-ni, Chōshū, and Onitsura. He also mentioned admiring the work of the American haiku poet, James W. Hackett.⁴ In his writings Ball often offered versions of one of Hackett’s twenty“Suggestions for Creating Haiku Poetry in English”: “Remember that lifefulness, not beauty, is the essence of haiku.”⁵

In 1977 Ball joined the Yukuharu Haiku Society (later the Yuki Teikei Haiku Society) led by Kiyoshi and Kiyoko Tokutomi; he met with that group once a month for the next 30 years. He wrote of that experience, “[I]t was there I learned something about the principles of discipline, kigo (season words), Japanese classical writers, the Japanese language, being honest, and nothing too much. The instruction was by Kiyoshi Tokutomi supported (quietly but firmly) by Kiyoko.”³ Later Ball wrote “Kiyoshi-san is responsible, more than any other person, for my haiku development.”⁴ He also mentioned Edwin A. Falkowski (another member of the Yukuharu Haiku Society and its president in the late 1970s) as being helpful in his development.²

Ball was a prolific writer and wrote using both what he referred to as form and freestyle formats. “I’ve always been fascinated with that form, and form in general. I am convinced that the form has its uses, but should be used with limitations.”² When he talked of “form” he meant the 5–7–5–syllable pattern that was standard for Japanese haiku and widely accepted for composing haiku in English as well. By “freestyle” he was referring to any deviations from that basic form. Ball wrote both traditional and freestyle haiku. He wrote mostly in English, but occasionally in Spanish and Italian. He loved to travel, and he and his wife, Sandy, made numerous trips to Europe. On one trip he composed a haiku in both English and Italian:

summer twilight an old woman in a chair    on a balcony

crepusculo estivo una vecchia donna su un sedia      al balcone6

He continued to write and appreciate both traditional and freestyle haiku. Of haiku in either style, he said, “They come, not when they are summoned, but when they show themselves.”

Ball’s Writing Process

Over the years Jerry Ball produced haiku, senryu, haibun, renku, tanka, and longer lyrical poetry, but his great love was haiku. He always carried with him a spiral-bound 3”x 5” notebook that fit neatly in his shirt pocket. He was a prolific writer and each day’s work might fill several pages. Regularly, often daily, he would type up the haiku he had written. Sometimes an event would inspire a longer lyrical poem which he would compose on the computer.⁷

His practice was to gather his recent compositions together three or four times a year. He took these opportunities to reflect on the season or the semester or projects he was working on. He would express in prose his thoughts and reflections, or perhaps outline a project, then gather a set of haiku that would add to his thinking. These writings were essentially memoirs in haibun form. (Ibid.)) From 1996 to 2015 he published 15 books and chapbooks of poetry, most of which were haiku.

Planting Seeds—The Haiku Organizer

Ball served as president of the Yuki Teikei Haiku Society in 1981–1982. He also was first vice president (1998–2000) and president (2001–2002) of the Haiku Society of America.He was twice the editor of the YTHS work-study journal,Geppo, from 1983–1986 and again in 1988–2000.

Ball organized the first YTHS haiku retreat, which was held at the Asilomar Conference Center in Pacific Grove, California, in 1984. The Asilomar Haiku Retreats are now an annual event, providing participants the opportunity to revive and restore their writing energy, share haiku and collaborate on renku, hear guest speakers, work on art projects, and enjoy walks under the pines or by the sea. The YTHS retreats became a model for other haiku conferences.

In 1991, together with pioneering West Coast haiku poet Garry Gay, Jerry Ball cofounded Haiku North America, a biennial haiku conference held at various venues in the United States and Canada⁸; he was the founder of Haiku Pacific Rim, an international haiku conference held every two years from 2002 through 2012 in different venues: Long Beach, California; Ogaki, Japan; Matsuyama, Japan; Terrigal, Australia; and Pacific Grove, California, respectively.⁹ Ball’s inspiration for these conferences was documented by his friend and collaborator, haiku poet Sosuke Kanda from Saitama City, Japan, at the third HPR. Ball wanted “to have an International Haiku Conference aiming at ‘people to people meeting’ rather than lecture meetings by scholars and haiku authorities … where the main actors are the participants.… [it would be] for the people of all Pacific Rim countries.]”¹⁰ With the fifth Haiku Pacific Rim Conference, Ball’s work as an organizer came full circle as it was held at the Asilomar Conference Center. The guest speaker wasAkito Arima, eminent nuclear physicist, haiku poet, and director of the Ten’i (Providence) haiku group in Tokyo.

Ball, like a modern-day Bashō, was an ambassador of haiku wherever he went. In 1997 he took a position at Long Beach State College in southern California, and in September of that year he placed an announcement of a haiku meeting in the monthly flyer of Borders bookstore. No one came. Undeterred, Ball placed another announcement in the next month’s flyer. This time Margaret Heyman-Smith showed up, and that was the beginning of the now thriving Southern California Haiku Study Group.¹¹

In 2001 the group published their first membership anthology and, except for 2005, has continued publishing one every year since. Ball was the driving force behind the members’ anthology, and even if he was not listed as editor, he was involved in their compilation and production from 2001 through 2006.

Ball’s style of leadership was one of collaboration. Deborah P Kolodji, an early member of the Southern California group and its current leader, has written about his technique:

Sometimes, Jerry would meet with a group of SCHSG poets and go through the group’s haiku as part of the selection process (our group was very small those days). However, he was the leader of the process, so in that sense he was really the editor, but for some reason a few of the chapbook anthologies do not list an editor or mention who was on the editing “committee”—although it was more of a casual meeting where local members met at a restaurant or bookstore and discussed which haiku they liked for the anthology. It was sort of unofficial and casual.… The printing for all of the anthologies prior to “Rattle of Bamboo” [the 2007 anthology] was completely paid for by Jerry. He used to say it was our “calling card” and he would sometimes leave copies around for people to find.¹²

Writing about Haiku

Early on, Ball developed ideas on the art and craft of haiku. He believed that studying the masters was an important foundation for the haiku poet, but that strict adherence to the “rules” stifled the spirit of haiku. “Skill overdone results in pedantry. Rules become an end in themselves, but really rules should be a means to an end. Skill underdone is shabby work. It implies a lack of caring and attention.… Art [on the other hand] is more than technique. While a skill might be developed from a natural talent, an art is a deliberate result of skill, knowledge, and practice.”¹³

Appearing in the November–December 1998 issue of the Yuki Teikei Haiku Society’s Geppo was the first Dōjin’s Corner, a column of haiku commentary by Jerry Ball and Patricia Machmiller. This column continued under the two YTHS dōjin until 2014, when the strain of typing due to a Parkinson’s tremor became too much for Ball.

Once, in conversation with Machmiller and Mimi Ahern, also a YTHS dōjin and former president, Ball was asked what he looked for in a haiku.

Jerry: First thing is if it moves me. Second, I look at the structure.… I’m looking at the form. It could be five-seven-five—or it could be modern. The structure fits the meaning of the thing.… Here’s an example of my own, that uses classical form and also has seventeen words:

“Hide and seek,” they cried then they left him there to wait spring rain on his cheeks14

I think the form works well here.…

Sometimes you can play with the structure. For example, I took Bashō’s haiku:

Ah, Matsushima! Ah-ah, Matsushima, ah! Matsushima, ah!

and made:

Ah, vacuum cleaner! Ah-ah, vacuum cleaner, ah! Vacuum cleaner, ah!

Patricia: the vacuum cleaner is like pop art; like Andy Warhol making …

Jerry: … Campbell’s soup.

Patricia: [Jerry] put a frame around it and it became art. He took Bashō’s structure, put a vacuum cleaner in it, and it became a haiku. You know—Matsushima is a cluster of islands covered with beautiful pine trees; in admiration Bashō repeated it three times to show how he felt—that the view of the pines was awesome.

Mimi: Well, I kind of feel that way about my vacuum cleaner.

Patricia: Then Jerry’s experiment with form in this case worked. By copying the structure of this Bashō haiku he has helped us see the awesomeness of an ordinary household tool like a vacuum cleaner.¹⁵

Travels

Jerry Ball was an avid traveler. Over the span of 25 years, 1984 to 2009, he made 25 trips abroad: these included eight visits to the British Isles, mostly to London, but also Wales, Scotland, and Ireland; four to Paris; three to Italy; two to Mexico; and seven to Japan. He also visited China, Peru, Australia, Greece, Slovenia, and Spain. He was often accompanied by his wife Sandy, an educator and art and archeology aficionado, who helped him plan and lead these excursions. These two teachers spent summers and many holiday breaks shepherding students to theatrical performances, art museums, and historical/cultural sites.

Ball’s trips to Japan took place in 1984, 1997 (twice), 1998/9, 2003, 2004, and 2007. On his first trip, which had been suggested by Kiyoshi Tokutomi, Ball attended the Chiku Poetry Festival in Tokyo. In preparation for the trip he wrote,

I tried to read many books about haiku…. One of my favorites [was] Haiku Master Buson by Edith Shiffert.… In Tokyo I met many people. There were people from 20 countries … someone said to me “Have you read the book Haiku Master Buson” I said “yes, it’s a very good book.…” “Well, meet the author: Edith Shiffert.” Edith had white hair. She was 70 years old …. lived in Kyoto [and] she invited me to come.…

Which he did. Shiffert was a professor at Kyoto Seika University; Ball visited her classes and met her students. She took him to Kompuku-ji, a small temple on Mt. Hiei where Bashō lived and Buson is buried. Ball writes that they arrived at Buson’s grave. “It was afternoon and the sky was dark. There wasn’t enough light to take a picture.… Then, at that moment, a ray of light came through the pine trees and shone on Buson’s grave. I saw a white chrysanthemum there. I was amazed.”

a ray of light
suddenly on Buson’s grave
white chrysanthemum

In April 1997 Ball again traveled to Japan, this time to attend the Haiku International Association/Haiku Society of AmericaTokyo Conference. Even years later his traveling companion Garry Gay recalled some of the distinguished haijin whom they met:

Yatsuka Ishihara, leader of the Aki (秋, Autumn) haiku group and president of the Haiku International Association; Tōta Kaneko, a pioneer of the gendai haiku movement in Japan and president of the Modern Haiku Association (現代俳句協会, Gendai Haiku Kyōkai); Shugyō Takaha, editor of Kari (狩, “Hunting”) haiku journal and later president of the Association of Haiku Poets (社団法人俳人協会 Shadan Hōjin Haijin Kyōkai); Akito Arima, atomic physicist, president of Tokyo University and soon to be named Japanese Minister of Science and Education, and founder of theTen’i (天意, “Providence” or “Heaven’s Will”) haiku group. Other names mentioned were Japanese haiku poets Emiko Miyashita, a dōjin in Ten’i; Sosuke Kanda, Maya Nakayama, Ken Shigematsu, and Taro Takeshita, and Tadashi Kondo, renku master; as well as Briton Stephen Henry Gill and American Patricia Donegan, both haiku poets and translators residing in Japan.¹⁷

As part of this trip, Gay and Ball joined other members of the Yuki Teikei Haiku Society for dinner in the Tokyo home of Teruo Yamagata, director of Yukuharu Haiku Society (ゆく春俳句会, Yukuharu Haikukai).This meal was a feast, ten courses prepared by Teruo’s wife, Takako. The YTHS group celebrated Takako’s feast in an installation/performance that fall at Asilomar titled “Cherry Blossoms Meet By-the-Wind Sailors.” Jerry Ball wrote about the occasion:

the ripe mandarins
how carefully she blends them
into the sherbet

After the Tokyo conference Ball and Gay traveled to Matsuyama where they met Yoshiko Yoshino, leader of the Hoshi Haiku Group, and her acolyte and translator, Minako Noma. This meeting was especially opportune as Noma would soon become the co-leader of the third Haiku Pacific Rim conference which would be held in Matsuyama in 2007.²

In August of that same year, Ball made yet another trip to Japan. An avid collector of memorabilia and ancient artifacts, he had come across a Japanese banner in an antique store in Livermore. A student of Ball’s saw it displayed on a wall in his home and explained that it had been a gift from coworkers at a beer company to a man on his way to fight in the Greater East Asia War [World War II]. Ball wrote to Sosuke Kanda, whom he had just met in April, to ask for help in locating the family of the soldier. Kanda was successful, and Ball made this special trip to Japan to return the banner to them. This episode cemented the friendship of Kanda and Ball and they remained close for the rest of Ball’s life.¹⁹

Later Life

Apart from his interest in haiku and teaching, Jerry Ball had an abiding interest in music and theater. Over his teaching career he taught an introduction to opera course. After he retired, he taught it through the Osher Lifelong Learning Institute at California State University in Long Beach, and later in an adult education program in Walnut Creek. In December 2002, he won the part of Pish-Tush in Gilbert and Sullivan’s The Mikado in a regional theater; it ran for 20 performances.

spring theater
backstage the actors
competing for laughs

Over the years before he moved to southern California, Ball acted in performances of the Pirates of Penzance, HMS Pinafore, A Funny Thing Happened on the Way to the Forum, and Shakespeare’s All’s Well That End’s Well.

The spring of 2006 was his last semester teaching in Long Beach. “I see myself aging. While my health is stable, it, nevertheless, is not the best. I have undergone many medical tests and they are all negative, but still I am fatigued and do not sleep well.”

a short step
into the next world
winter moon

In the fall of 2006 Ball moved back to northern California, and he and Sandy settled in Walnut Creek. Of this time he wrote, “This November has been (or should I say is?) a month of transition. I have been diagnosed (wrongly, I think) of depression. I am dealing with a fatigue problem, probably as a result of the great transition from a life structured by projects (teaching full time at Long Beach State University) to a life which structure is yet to be determined. Not so strange, I think, but still necessary to deal with.”²² Actually he had been diagnosed with Parkinson’s disease the summer before.

a struggle’s end
escaped from the web
the moth rests awhile

outside the clinic
the man with Parkinson’s
trembling in the sun

Despite his diagnosis, he again gathered a group of haiku poets, the first at Border’s Bookstore and later at the Rossmoor Park Community Center, a senior living facility. Ever the teacher, he also conducted a poetry class for people writing longer, Western-style poetry forms at Acalanes Adult Education, part of the Contra Costa County Community College Consortium. He was reportedly a very popular teacher, and students would take his class over and over again. According to one student, “He would roam through poetry, philosophy, linguistics. mathematics, etc. After a presidential election one year, we even read Plato’s Republic.”²⁵

He continued to write almost to the end. He often submitted haiku to the online Mainichi Haiku in English newspaper column. In December 2016 Editor Isamu Hashimoto, recalled that six of Ball’s haiku had been selected for inclusion over the year:

frost everywhere
we stuff an old sock
into the mail slot

bitter morning
a sudden shudder jolts through
a row of freight cars

end of winter
I just can’t find my glasses
without my glasses

the new Star Wars
may the Fourth
be with you

cancer removed
I cover the empty spot
with my cowboy hat

Hashimoto added this comment: “You are a great haiku master, Jerry Ball. These haiku above are all superb. Haiku #5 is especially just like you.” They all have Ball’s easy style and demonstrate his versatility. There’s the cheekiness and verbal agility of the fourth haiku, the wry humor of the third, the keen perception in the second, and the unpretentiousness of first—all signature attributes of Jerry Ball.

Progressively Parkinson’s took its toll on him physically but his mind remained agile and active. He continued to be engaged and engaging. Susan Antolin, editor of Acorn and of the Haiku Poets of Northern Californianewsletter, remembers driving him to HPNC meetings: “Once I realized how much he loved opera, I would often play a Pavarotti CD, and Jerry could sing along to parts of it.… His passion for music, art, literature, and life itself made Jerry a pleasure to spend time with.”³¹

Even though he was now wheelchair-bound, on April 13, 2019, he attended a Yuki Teikei haiku gathering at Tilden Botanical Garden in Berkeley, California, scribbling haiku in the pocket spiral-bound notebook he always carried. In July, one month before he died, Sandy drove him to the American Haiku Archives at the California State Library in Sacramento (he had served as honorary curator of the archives for 2011–2012). That day he spent several hours reviewing haiku materials, including a set of 25shikishi (stiff rice paper cards used for calligraphy or sumi-e painting) calligraphed by Japanese haiku poets and donated to the Haiku Society of America in honor of its tenth anniversary. Shortly thereafter, he fell and broke his hip. He struggled to survive this setback, but it was too much. He asked to leave the hospital; at home over the next few days friends and colleagues visited him one last time. He died on August 14, 2019.

Haiku

Ball wrote thousands of haiku. Form fascinated him, and even though he wrote what he called freestyle, he used the 5–7–5 syllabic form often over the years:

a small child napping
beside toys in the sand pile …
the afternoon shade …

financial district:
pairs of mirrored sunglasses
greeting each other

Coming in the door
with my father’s overcoat—
the smell of Christmas

a long line of cars
at Santa Rita Prison …
Easter morning rain

beautiful daughter
of a woman I once loved
ending of springtime

surrounded by fog
the sound of muffled footsteps
becomes a person

gathering seashells
his tiny canvas rucksack
begins to take shape ((Tokutomi Haiku Contest, 2009, Honorable Mention.))

end of the season
the voice of the veteran
“See ya next year, kid” …

a flight of swallows
my wife carries the laundry
in a blue basket

the heat of the day
my friend at the bank is gone;
her desk is gone too.

Here’s an example of his use of 4–6–4 syllabic form:

another fly
she covers the donut
with a napkin

Ball was quick-witted and had a sly, cheeky sense of humor:

fall conference
and here I am again
right behind my nametag

in front of the line
he seems to be the head duck
in charge of pure water

In writing about small things or ordinary events he was able to convey a larger import.

autumn evening …
as we stare at the planets
a stranger joins us

              humidity
spreading out the laundry
      in the hotel window

       summer evening
the door to a hotel room
     down a dark hallway

autumn evening
she comments on the TV
then goes on ironing ((Pieces of Eight, 2004.))

            end of the year
window washers still clinging
      to their skyscrapers ((Pieces of Eight, 2004.))

      summer morning
the old dog seems to know
   the length of its leash

autobiography
a spider’s obsession
with her weaving

migrating birds
empty Maruchan cups
in a back alley

His writing had an easy flow and a light touch.

summer evening—
a park ranger’s brief lecture
about wildflowers

strawberries
a handful of them
under running water

The following three haiku are from unpublished typescripts. Even as Ball’s Parkinson’s progressed, he continued to write with accomplished skill.

after thirty years
I find the bookmark
exactly where I left it

an old man
with white hair and …
a bunch of roses

Winter Dark …
when I answer the door
no one is there

Photo Gallery

Photos courtesy of Susan Antolin

Sources / Further Reading

Books and chapbooks

• Ball, Jerry. Baseball Seasons: A Collection of Baseball Haiku and Art. Art by David Ball. Oakland and Walnut Creek, Calif.: Dave’s Garage Press, 2010.
• Ball, Jerry. Bricks and Straw. Livermore, Calif.: printed privately, 1981.Ball, Jerry. An Even Score: Twenty Haiku. Calligraphy by Carol Maddox. Livermore, Calif.: printed privately, 1984.Ball, Jerry. Everything in Between. Fremont, Calif.: EGW Publishing Inc., ©2015. Selections from Ball’s earlier books: Summer in Italy, Winding the Clock Again, Hidden Under the Rug, and Pieces of Eight.
• Ball, Jerry. The Eye of the Day. Illustrated by David Ball. Printed privately, 2006. 88 haiku.
• Ball, Jerry. Hidden Under the Rug: Haiku, Senryu, and a Tanka or Two. Seal Beach, Calif.: self-published, 1998.
• Ball, Jerry. Left-Handed Year: Haiku & Senryu. Livermore, Calif.: printed privately, 1981. 125 Yuki Teikei haiku and senryu.
• Ball, Jerry. New Sprouts: A Haiku Anthology. No place [Walnut Creek, Calif.]: published privately, 2012. 168 haiku.
• Ball, Jerry. Pieces of Eight: Haiku Offerings Along the Eight-Fold Path. No place [Long Beach, Calif.]: printed privately, 2004.
• Ball, Jerry. A Second Look: Poems by Jerry Ball 1996 through 2003. Fremont, Calif.: EGW Publishing Inc., ©2015.
• Ball, Jerry. The Sound of Shoes: A Collection of Haiku and Senryu. Illustrations by Victoria Thompson. Livermore, Calif.: Published privetely, 1984. 133 haiku and senryu.
• Ball, Jerry. Summer in Italy: A Collection of Haiku. Seal Beach, Calif.: printed privately, Summer 1996.
• Ball, Jerry. When (Almost) Nothing Happens: Haiku With Very Few Verbs. No place [Seal Beach Calif.]: printed privately, Spring 1997. Essay and 37 haiku.
• Ball, Jerry. Winding the Clock Again: A Collection of Haiku. Seal Beach, Calif.: printed privately, August 1996. 56 haiku.
• Ball, Jerry. World Between Mirrors. Windsor, Calif.: Smythe-Waithe Press, 1996. Collection tanka and longer poems.

Books, chapbooks, and journals edited

• Ball, J.T, ed. Geppo Haiku Journal. Livermore, Calif: Chabot College, May–July 1985.
• Ball, Jerry, ed. 2001 Anthology: The Southern California Haiku Study Group. No place: Southern California Haiku Study Group, 2001. 37 haiku by David Priebe, gK, Jerry Ball, Judy Sunderland, Naia, Peggy Hehman-Smith, Tom Bilicke, and Wendy Wright.
• Ball, Jerry, ed. Beachcomber: 2003 Anthology. No place: Southern California Haiku Study Group, 2003. Haiku by Darrell Byrd, Deborah Kolodji, gK, Jerry Ball, Mel Bernstein, Naia, Norm Ashbrooke, Margaret Hehman-Smith, Karma Tenzing Wangchuk, Tom Bilicke, Victor Ortiz, and Wendy Wright. Artwork by Margaret-Hehman Smith. Calligraphy by Kiyoko Tokutomi. Booklet design by Wendy Wright.
• Ball, Jerry, ed. Fledglings: Southern California Haiku Study Group 2004 Anthology. No place: Southern California Haiku Study Group, 2004. Haiku by Darrell Byrd. David Priebe, Debbie Kolodji, gK, Jerry Ball, Kavyo (Bob Schmidt), Linda Galloway, Margaret Hehman-Smith, Victor Ortiz, and Wendy Wright. Artwork by Margaret-Hehman Smith.
• Ball, Jerry, ed. Jacaranda: 2002 Anthology. No place: Southern California Haiku Study Group, 2002. Haiku by Bridget Dole, David Priebe, gK, Jan Lindhorst, Jerry Ball, Hudy Sutherland, Mel Bernstein, naia, Peggy Hehman-Smith, Tom Bilicke, and Wendy Wright. Artwork by Margaret-Hehman Smith.
• Ball, Jerry, ed. Time and Tide: A Haiku Anthology. No place: Southern California Haiku Study Group, 2006. Haiku by Jerry Ball, Tom Bilicke, Darrell Byrd, Linda Galloway, Margaret “Peggy” Hehman-Smith, Deborah P Kolodji, David Priebe, James Ricklef, and Wendy Wright. Artwork by Margaret-Hehman Smith.
• Ball, Jerry, and J. Zimmerman. Wild Violets: Yuki Teikei Haiku Society Members’ Anthology 2011. Sunnyvale, Calif.: Yuki Teikei Haiku Society, 2011. Brush and haiga paintings by Ann Bendixen. 2 haiku and 6 in an article.
• Ball, Jerry, and June Hopper Hymas, eds. Autumn Deepens: Yuki Teikei Haiku Society Thirty-Fifth Commemorative Members’ Anthology 1975–2010. Los Gatos, Calif.: Yuki Teikei Haiku Society, 2010. 2 haiku and 6 in an article.
• Ball, Jerry, Garry Gay, and Tom Tico, eds. The San Francisco Haiku Anthology. Windsor, Calif.: Smythe-Waithe Press, 1992. 300 haiku by 57 San Francisco haiku poets.
• Ball, Jerry, Naia, and Wendy Wright, eds. Bits of Itself: Haiku Society of America Membership Anthology 2002. New York: Haiku Society of America, 2003.

Selected sequences, tanka, and work in linked forms

• “Calaveras Big Trees” [4-verse sequence], in Jerry Ball, The Sound of Shoes: A Collection of Haiku and Senryu. Livermore, Calif.: Published privately, 1984, 23.
• “Easter” [4-verse sequence], in Jerry Ball, The Sound of Shoes: A Collection of Haiku and Senryu. Livermore, Calif.: Published privately, 1984, 14.
• “Four Tanka.”Jerry Ball, World Between Mirrors (Windsor, Calif.: Smythe-Waithe Press, 1996).
• “Rain at Dawn,” a kasen renku by Hal Roth, Elizabeth Searle Lamb, Hiroaki Sato, Terri Lee Grell, Jerry Kilbride, Ebba Story, Michael Dylan Welch, Kimberly Cortner, Christopher Herold, L.A. Davidson, Sandy Roth, Lequita Vance, Jane Reichhold, Pat Shelley, Jerry Ball, Margaret Chula, and Kiyoko Tokutomi. Frogpond 17:1 (1994), 33–36.
• “Separating the Logs,” a hankasen by Kiyoko Tokutomi (renku leader), Jerry Ball, Alice Benedict, Maggie Chula, D. Claire Gallagher, George Knox, Bun Schofield, and Ebba Story. Composed at the YTHS Asilomar Haiku Retreat, September 10, 1994.
• “Summer in Italy” [3-verse sequence], in Yvonne Hardenbrook and Larry Smith, eds. Haiku Poems. Huron, Ohio: Bottom Dog Press, 1999, 36.
• “Wood Nymph’s Flute” [kasen], by Alison Woolpert, Roger Abe, Jerry Ball, donnalynn chase, Marcia Behar, Anne Homan, Bill Peckham, Deborah P Kolodji, Jean Hale, Genie Nakano, Patrick Gallagher (leader), and Suzanne Smith. Composed at the YTHS Asilomar Haiku Retreat, September 18, 2010. Published in Geppo, September–October 2010, 10–11. 1 verse.
• “Virginia City, Nevada, October 10, 1982” [5-verse sequence], in Jerry Ball, The Sound of Shoes: A Collection of Haiku and Senryu. Livermore, Calif.: Published privately, 1984, 35

Work in anthologies

• Ahern, Mimi, ed. Cherry Blossom Light: Yuki Teikei Haiku Society Members’ Anthology . San Jose, Calif.: Yuki Teikei Haiku Society, 2016. 2 haiku plus 4 haiku in an article.
• Antolin, Susan, ed. Caught in the Breeze (5th Haiku Pacific Rim Conference 2012 Anthology). Pacific Grove, Calif.: Haiku Pacific Rim, 2012. 2 haiku.
• Ball, Jerry, ed. Time and Tide: A Haiku Anthology. No place: Southern California Haiku Study Group, 2006. 6 haiku. Ball, Jerry, Garry Gay, and Tom Tico, eds. The San Francisco Haiku Anthology. Windsor, Calif.: Smythe-Waithe Press, 1992. 10 haiku.
• Ball, Jerry, Naia, and Wendy Wright, eds. Bits of Itself: Haiku Society of America Membership Anthology 2002. New York: Haiku Society of America, 2003. 1 haiku.
• Burns, Allan, ed. Montage: The Book. Winchester, Va.: The Haiku Foundation, 2010. 7 haiku.
• Dee, Billie, ed. An Island of Egrets: 2010 Southern California Haiku Study Group Anthology. No place: Southern California Haiku Study Group, 2010. 4 haiku.
• Gallagher, D. Claire, ed. Crinkled Sunshine: Members’ Anthology 2000, Haiku Society of America. New York: Haiku Society of America, 2000. 1 haiku.
• Gay, Garry, ed. Light and Shadow; 1998 Members’ Anthology. New York: Haiku Society of America, 1998. 1 haiku.
• Hardenbrook, Yvonne, and Larry Smith, eds. Haiku Poems. Huron, Ohio: Bottom Dog Press, 1999. 3 haiku.
• Harr, Lorraine Ellis, comp. The Anthology of Western World Haiku Society 1978 Haiku Award Winners. Kanona, N.Y.: J & C Transcripts, 1978. 1 haiku.
• Higginson, William J. Haiku World: An International Poetry Almanac. Tokyo, New York, and London: Kodansha International, 1996. 2 haiku.
• Hymas, June Hopper, ed. Heavenly Bamboo (Yuki Teikei Haiku Society Members’ Anthology 1998). San Jose, Calif.: Yuki Teikei Haiku Society, 1998. 1 haiku.
• Kacian, Jim, and the Red Moon editorial staff, eds. Big Sky: The 2006 Red Moon Anthology of English-Language Haiku. Winchester, Va.: Red Moon Press, 2007. 1 haiku.
• Kacian, Jim, and the Red Moon editorial staff, eds. Dust of Summers: The 2007 Red Moon Anthology of English-Language Haiku. Winchester, Va.: Red Moon Press, 2008. 1 haiku.
• Kacian, Jim, and the Red Moon editorial staff, es. The Thin Curve: The Red Moon Anthology of English-Language Haiku 1999. Winchester, Va.: Red Moon Press, 2000. 1 haiku.
• Kacian, Jim, Philip Rowland, and Allan Burns, eds. Haiku in English: The First Hundred Years. Introduction by Billy Collins. New York and London: W.W. Norton & Co., 2013. 2 haiku.
• Lifshitz, Leatrice, collector. A Purple So Deep …: An Anthology of Haiku. No place: printed privately, Autumn 2001. 1 haiku.
• Longenecker, Gregory, ed. Deep in the Arroyo: 2012 Southern California Haiku Study Group Anthology. Temple City, Calif.: Southern California Haiku Study Group, 2012. 4 haiku.
• Machmiller, Patricia J., and June Hopper Hymas, eds. Young Leaves: An Old Way of Seeing New: Writing on Haiku in English:. San Jose, Calif.: Yuki Teikei Haiku Society, 2000. 8 haiku.
• Machmiller, Patricia J., ed. The Plover and the Moonstone: The Yuki Teikei Society 40th Anniversary Anthology. San Jose, Calif.: Yuki Teikei Haiku Society, No date [2015]. 41 haiku.
• McDonald, Tanya, and Michael Dylan Welch, eds. From Leaf to Leaf. Bellevue, Wash.: Haiku Northwest, 2011. A collection of poems to commemorate Haiku Northwest’s Seabeck Haiku Getaway, November 4–7, 2010. 1 haiku.
• Miyashita, Emiko, ed. and trans. The New Pond: An English-Language Haiku Anthology. Tokyo: Hokumeisha Press, 2002.1 haiku.
• Naia, ed. Above the Tree Line: Southern California Haiku Study Group 2008 Anthology. No place: Southern California Haiku Study Group, 2008. 4 haiku.
• Naia, ed. Shell Gathering: Southern California Haiku Study Group 2009 Anthology. No place: Southern California Haiku Study Group, 2009. 6 haiku.
• Naia, ed. What the Wind Can’t Touch: 2016 Southern California Haiku Study Group Anthology. Temple City, Calif.: Southern California Haiku Study Group, 2016. 4 haiku.
• Reichhold, Jane, ed. Haiku Journal 8 (Yuki Teikei Haiku Society Members’ Anthology 1990–1991). San Jose, Calif.: Yuki Teikei Haiku Society, 1991. 3 haiku.
• Stevenson, John, ed. Nest Feathers: Selected Haiku from the First 15 Years of The Heron’s Nest. No place [Nassau, N.Y.]: The Heron’s Nest Press, First edition, 2015. 1 haiku.
• Story, Ebba, and Michael Dylan Welch, eds. The Shortest Distance. Introduction by Micahel Dylan Welch. Foster City, Calif.: Press Here, 1993. 1 haiku.
• Strand, Clark. Seeds from a Birch Tree: Writing Haiku and the Spiritual Journey. New York: Hyperion, 1997. 2 haiku.
• Trumbull, Charles, ed. All This Talk: Yuki Teikei Haiku Society Members’ Anthology 2020. San Jose, Calif.: Yuki Teikei Haiku Society, 2020. 6 haiku.
• Welch, Michael Dylan, ed. Harvest: An Anthology of Haiku Commemorating Haiku North America. Foster City, Calif.: Press Here, 1991. 1 haiku
• Welch, Michael Dylan, ed. Shades of Green: The 1997 Haiku North America Anthology. Foster City, Calif.: Press Here, 1997. 1 haiku.
• Welch, Michael Dylan, and Lee Gurga, eds. Too Busy For Spring: An Anthology of Poems Commemorating the 1999 Haiku North America Conference. Foster City, Calif.: Press Here, 1999.
• Welch, Michael Dylan, and Ruth Yarrow, eds. Standing Still: An Anthology of Poems Commemorating the 2011 Haiku North America Conference. Illustrations by Dejah Léger. Sammamish, Wash.: Press Here, 2011. 1 haiku.
• Welch, Michael Dylan, and Scott Mason, eds. Fire in the Treetops: Celebrating Twenty-Five Years of Haiku North America. Sammamish, Wash.: Press Here, 2015. 5 haiku.

Articles in print

• Ahern, Mimi. “Conversations on Haiku with Jerry Ball.” Geppo 42:4 (November 2017), 20–21. 

• Ahern, Mimi. “Conversations on Haiku with Jerry Ball, Patricia Machmiller and Mimi Ahern.” Geppo 43:1 (February 2018), 26–27. 

• Ball, Jerry. “A Comment about Judging Haiku.” Haiku Journal (Yuki Teikei Haiku Society) 5:1&2 (1981–1982), 5–9. 

• Ball, Jerry. “A Few Words about Form in Haiku.” Patricia J. Machmiller and June Hopper Hymas, eds., Young Leaves, An Old Way of Seeing New, Yuki Teikei Haiku Society’s 25th Anniversary Anthology (2000), 39–40. 

• Ball, Jerry. “A Few Words about Form in Haiku.” Clysta Seney, ed., Old Pond: The Art of Haiku (2016), 13–14.

• Ball, Jerry. “Essay by Jerry Ball: The Nature and Structure of Haiku.” Geppo 43:2 (February–April 2018), 19–20. .

• Ball, Jerry, “Haiku and Me: A Talk by Jerry Ball.” Patricia J. Machmiller, ed., The Plover and the Moonstone: The Yuki Teikei Society 40th Anniversary Anthology. San Jose, Calif.: Yuki Teikei Haiku Society. No date [2015], 38-48.

• Ball, Jerald T. “Haiku as a Teacher.” Haiku Journal 3:1 (1979), 54–57. 

• Ball, Jerry. “Introduction.” Jerry Ball, ed. Beachcomber: 2003 Anthology. No place: Southern California Haiku Study Group, 2003), 1.

• Ball, Jerry. “Introduction: Fledglings.” Jerry Ball, ed. Fledglings: Southern California Haiku Study Group 2004 Anthology. No place: Southern California Haiku Study Group, 2004. 1-2.

• Ball, Jerry. “Introduction.” Jerry Ball, ed. Jacaranda: 2002 Anthology. No place: Southern California Haiku Study Group, 2002.

• Ball, Jerry. “Introduction.” Jerry Ball, ed., 2001 Anthology: The Southern California Haiku Study Group. No place: Southern California Haiku Study Group, 2001, 2.

• Ball, Jerry. “Introduction.” Jerry Ball, ed., Time and Tide: A Haiku Anthology. No place: Southern California Haiku Study Group, 2006, np.

• Ball, Jerry. “The Last Word: Reflections of a Dojin Emeritus.” Linda Galloway, ed. Rattle of Bamboo: A Haiku Collection. No place: Southern California Haiku Study Group, 2007, 34–39.
• Ball, Jerry. “The Thing is. …” Unpublished essay, July 3, 2008.

• Ball, Jerry. “President’s Message.” Frogpond 24:1 (2001), 3.

• Ball, Jerry. “President’s Message.” Frogpond 24:2 (2001), 3.

• Ball, Jerry. “President’s Message.” Frogpond 24:3 (2001), 3.

• Ball, Jerry. “The Ray Of Light: Meeting Edith Shiffert At Kiyoshi’s Suggestion.” Jerry Ball and June Hopper Hymas, eds., Autumn Deepens: Yuki Teikei Haiku Society Thirty-Fifth Commemorative Members’ Anthology 1975–2010. Los Gatos, Calif.: Yuki Teikei Haiku Society, 2010, 37–40. Includes 6 haiku by various poets.

• Ball, Jerry. “The Use of Metaphor in Haiku: Part II.” Geppo 21:1 (January–February 1998), 10–11. .

• Ball, Jerry. “The Use of Metaphor in Haiku.” Clysta Seney, ed., Old Pond: The Art of Haiku (2016), 61–65.

• Ball, Jerry T. “What Is It that Falls / Under the Name of “Haiku” / This Autumn Morning.” Japan Air Lines, ed., U.S.-Japan Conference on Haiku Poetry (1988), 23–25. 

• Ball, Jerry. “What Makes a Haiku a Haiku?” Geppo 42:2 (May 2017), 15.

• Ball, Jerry. “The Yuki Teikei Haiku Society.” Dragonfly: East/West Haiku Quarterly 14:8 (Fall 1987), 14.

• Ball, Jerry, and Patricia Machmiller. “Dojins’ Corner.” Commentary and critique column in Geppo from issue 21:6 (November–December 1998) through 39:3 (May–June 2014). Emiko Miyashita was also listed as column author for issues 39:3 and 39:4.
• Ball, Jerry. Haiku and article published in Newsweek Japan, 1987.

Articles online

• Ball, Jerry. “Brief History of Haiku Pacific Rim.” haikupacificrim2012 website: https://haikupacificrim2012.wordpress.com/about/.
• “Poets in Memoriam, Jerry Ball, (1932–2019), Yuki Teikei Haiku Society website: https://yths.org/sample-page/#JerryBall; accessed March 31, 2022.
• Welch, Michael Dylan. “Appointment Announcement: Honorary Curator Jerry Ball, 2011–2012.” American Haiku Archives website: https://www.americanhaikuarchives.org/curators/JerryBall.html; posted 2011.

Reviews and articles about Jerry Ball

• Antolin, Susan. “Jerry Ball Appointed as the New Honorary Curator of the American Haiku Archives.” Ripples 26:3 (October 2011). Excerpted on the American Haiku Archives website: https://www.americanhaikuarchives.org/curators/JerryBall.html.
• Ball, Sandra. “Jerry Ball, a Renaissance Man, Dec 16, 1932 – Aug 18, 2019.” Geppo 44:4 (November 2019), 25–26. Includes a photo and 3 haiku.
• Lamb, Elizabeth Searle. “The San Francisco Haiku Anthology, edited by Jerry Ball, Garry Gay, and Tom Tico.” Frogpond 16:2 (Fall–Winter 1993), 61–62. 
• Machmiller, Patricia J. “Dojin’s Corner: Mimi Ahern in Conversation with Jerry Ball, Patricia Machmiller, and Emiko Miyashita. Mimi Ahern, ed., Cherry Blossom Light: Yuki Teikei Haiku Society Members’ Anthology. San Jose, Calif.: Yuki Teikei Haiku Society, 2016. 48–58.
• Spiess, Robert. “The San Francisco Haiku Anthology, edited by Jerry Ball, Garry Gay, and Tom Tico.” Modern Haiku 24:1 (Winter–Spring 1993), 72–73. 
• Story, Ebba. Review of The San Francisco Haiku Anthology, Woodnotes 14 (Autumn 1992), 26–27.
• Summers, Alan. Review of Wild Violets. Notes from the Gean 3:3 (December 2011).
• Summers, Alan. Review of Wild Violets. Lynx 27:1 (February 2012).
• Swede, George, Wild Violets: Briefly Reviewed, Frogpond 35:1 (Winter 2012), 151.
• Autumn Deepens. Briefly Noted in Modern Haiku 42:1 (Winter–Spring 2011), 151.
• Hidden Under the Rug. Book Note in Frogpond 22:1 (1999), 84.
• Hidden Under the Rug. Book Note in Frogpond 22:2 (1999), 88.
• Left-Handed Year. Books in Wind Chimes 6 (Fall 1982), 71.
• New Sprouts: Briefly Noted in Modern Haiku 44:1 (Winter–Spring 2013), 156.
• The San Francisco Haiku Anthology. Book note in Frogpond 15:2 (Fall–Winter 1992), 86.
• The San Francisco Haiku Anthology. Book note in Woodnotes 14 (Autumn 1992), 25.
• Wild Violets. Briefly Noted in Modern Haiku 43:1 (Winter–Spring 2012), 122.

Print periodicals that published Ball’s work

• Acorn, 2011. 1 haiku.
• Frogpond, 1979–1999, 2009. 12 haiku.
• Geppo, 1978–2017.
• Haiku Headlines, 1999–2001. 8 haiku.
• Haiku Journal, 1981–1982, 1990–1991. 4 haiku.
• Hermitage, 2006. 1 haiku.
• Leanfrog, 1980–1982. ≥2 haiku.
• Modern Haiku, 1998–2012. 4 haiku in reviews and articles.
• Wind Chimes, 1981. 5 haiku.
• Woodnotes, 1992–1993, 1997. 9 haiku.

Online periodicals that published Ball’s work

• Asahi Haikuist Network, 2007. 2 haiku.
• The Heron’s Nest, 1999–2008. 20 haiku.
• Mainichi Haiku in English, 1998–2018. 69 haiku*.
• Nourish website.
• Per Diem Archive (The Haiku Foundation website), 2012. 1 haiku
• Shreve Memorial Library Electronic Poetry Network (Shreveport, La.), 2002–2006. 8 haiku.

Awards & Honors

• 1978—16th Annual California Federation of Chaparral Poets (Robert Frost Chapter) competition, Honorable Mention.
• 1978—Western World Haiku Society Haiku Awards, Sabi: The Passing of Time Category, Runner-up.
• 1979—2nd Annual International Yuki Teikei Haiku Contest, The Shugyō Award (Grand Prize).
• 1981—4th Annual Yuki Teikei Haiku Contest, Sumitomo Bank Award.
• 1982—5th Annual Yuki Teikei Haiku Contest, Honorable Mention.
• 1984—7th Annual International Yuki Teikei Haiku Contest, The Shugyō Takaha Award (Grand Prize), the Sakuma Award, and 7 Honorable Mentions.
• 1984—Mainichi Daily News Haiku in English Contest, 5–7–5 Category, Honorable Mention (1 of 8).
• 1986—9th Annual Yuki Teikei Haiku Contest, Professor Sato Grand Prize (for a 4-haiku set).
• 1987—U.S.–Japan Conference on Haiku Poetry haiku contest, Honorable Mention.
• 1992—Woodnotes 14 (Autumn 1992), Editors’ Choice 2nd Runner Up.
• 1996—In Recognition of Achievement and Service, awarded the Title of Faculty Emeritus, Chabot–Las Positas Community College District, 1996, by Susan Cota, Las Positas President.
• 1996—Reed Buffington Award for Outstanding Contributions to the Chabot–Las Positas Community College District, voted by the faculty.
• 1996—Teacher of the Year, voted by the Associated Students of Las Positas College.
• 1997—Kiyoshi Tokutomi Memorial Haiku Contest, Honorable Mention.
• 1999—The Heron’s Nest 1:1 (September 1999), Valentine Awards 1999, Readers’ Choice Award.
• 2000—1st Ashiya International Haiku Festa Awards, 2000—Non-Japanese Section, Inspirational Award of the Judge (1 of 10).
• 2000—The Heron’s Nest 2:11 (November 2000) Editor’s Choice.
• 2001—The English Tanka & Haiku on Water, River, Lake and Sea Contest, Runner Up (1 of 40).
• 2007—Haiku International 73 (November 2007), Honorable Mention.
• 2008—Kiyoshi and Kiyoko Tokutomi Memorial Haiku Contest, Honorable Mention.
• 2009—Kiyoshi and Kiyoko Tokutomi Memorial Haiku Contest, 3rd Place and Honorable Mention.
• 2011—Honorary Curator, American Haiku Archives, 2011–2012.
• 2012—Kiyoshi and Kiyoko Tokutomi Haiku Contest, 2nd Honorable Mention.

Activities

• Member, Yukuharu Haiku Society of Japan, English Division, 1977–1978.
• Member, Yuki Teikei Haiku Society, 1978–2019.
• Editor, Geppo (Yuki Teikei Haiku Society), January 1983–December 1986 and October 1988–December 1990.
• Founder, YTHS Haiku Retreat at Asilomar State Park, 1984
• Member, Haiku Society of America, 1991–2019
• Cofounder (with Garry Gay), Haiku North America conference series, 1991.
• Member of the Organizing Committee, Haiku North America 1991—Livermore, California.
• Lead editor (with Garry Gay and Tom Tico), The San Francisco Haiku Anthology (1992).
• Member of the Organizing Committee, Haiku North America 1993—Livermore, California.
• Founder, Southern California Haiku Study Group, 1997.
• First Vice President, Haiku Society of America, 1998–2000.
• Co-director (with Michael Dylan Welch), Haiku Society of America 30^th Anniversary Haiku Retreat, San Damiano Retreat Center, Danville, California, 1998.
• Judge (with Pamela A. Babusci), Harold G. Henderson Awards (Haiku Society of America), 1999.
• President, Haiku Society of America, 2001–2002
• Founder and cochairman, Haiku Pacific Rim conferences, 2002, 2004, 2007, 2009, and 2012.
• Participated in the Seabeck Haiku Getaway (Haiku Northwest), November 4–7, 2010.
• Honorary Curator, American Haiku Archives, 2011–2012.

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Author: Patricia J. Machmiller

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Notes

1. Ball, “The Thing is.…” Unpublished essay, 2008. [↩]
2. Ibid. [↩] [↩] [↩] [↩]
3. Ball, “The Last Word,” 2006. [↩] [↩]
4. Ball, “Haiku and Me,” 2015. [↩] [↩]
5. Hackett, “New to Haiku,” ca. 2002. [↩]
6. Ball, “When (Almost) Nothing Happens,” 1997. [↩]
7. Sandy Ball. Personal communication, 2023. [↩]
8. Antolin, “Jerry Ball Appointed,” 2011. [↩]
9. Zimmerman and Machmiller, “Extending the Hand of Haiku,” 2020. [↩]
10. Kanda, Haiku Pacific Rim, 2007. [↩]
11. Ball, “The Last Word,” 2007. [↩]
12. Deborah P Kolodji. Personal communication, 2022. [↩]
13. Ball, “A Comment about Judging Haiku,” 1981–1982. [↩]
14. Ball, New Sprouts, 2012. [↩]
15. Machmiller, “Dōjin’s Corner,” 2016. [↩]
16. Ball, “The Ray of Light,” 2001. [↩]
17. Garry Gay. Personal communication, 2023. [↩]
18. “Cherry Blossoms Meet By-the-Wind Sailors,” 1997. [↩]
19. Sandy Ball. Unpublished typescript, 2022. [↩]
20. Ball, “Haiku Spring 2003.” Unpublished manuscript. [↩]
21. “Haiku by Jerry Ball, Spring 2006.” Unpublished manuscript. [↩]
22. Ball, “Haiku of November 2006.” Unpublished manuscript. [↩]
23. Ball, “The Last Word," 2006. [↩]
24. Ball, “Haiku Summer ’07, Sandy’s Dad.” Unpublished manuscript, 2007. [↩]
25. Christine Horner. Personal communication, March 2023. [↩]
26. The Mainichi Haiku in English, February 10, 2016; Jerry Ball Celebration of Life, October 26, 2019. [↩]
27. The Mainichi Haiku in English, March 24, 2016. This haiku in a slightly different version had been published in the San Francisco Haiku Anthology in 1992. [↩]
28. The Mainichi Haiku in English, April 18, 2016. [↩]
29. The Mainichi Haiku in English, July 28, 2016. [↩]
30. The Mainichi Haiku in English, December 13, 2016. [↩]
31. Susan Antolin. Personal communication, March 27, 2023. [↩]
32. 2nd Yuki Teikei Haiku Contest, 1979, The Shugyō Takaha Award [↩]
33. 7th Yuki Teikei Haiku Contest, 1984, The Shugyō Takaha Award. [↩]
34. Left-Handed Year, 1981. [↩]
35. Haiku Journal 5:1 (1981–1982.) [↩]
36. The San Francisco Haiku Anthology, 1992. [↩] [↩]
37. Baseball Seasons, 2010. [↩]
38. New Sprouts, 2012. [↩] [↩] [↩] [↩]
39. Unpublished handout, 2011. [↩]
40. “Haiku and Me,” 2015. [↩]
41. The San Francisco Haiku Anthology, 1992. [↩]
42. Winding the Clock Again, 1996. [↩]
43. “Cherry Blossoms Meet By-the Wind Sailors,” 1997. [↩]
44. Pieces of Eight, 2004. [↩] [↩]
45. New Sprouts, 2012. [↩]
46. 7th Yuki Teikei Haiku Contest, 1984: Honorable Mention. [↩]
47. September 2016. [↩]
48. September 2018. [↩]
49. November 2018. [↩]